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Home , Composer, Giuseppe Martucci, Italian folk dance, Leone Sinigaglia, Marco Enrico Bossi, Piano Concerto (Busoni)

Program

One Hundred Twenty-first Season Chicago Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO

Thursday, October 6, 2011, at 8:00 Friday, October 7, 2011, at 1:30 Saturday, October 8, 2011, at 8:30 Riccardo Muti conductor Gerhard Oppitz Sinigaglia to Le baruffe chiozzotte, Op. 32 Mendelssohn Symphony No. 4 in A Major, Op. 90 (Italian) Allegro vivace Andante con moto Con moto moderato : Presto

Intermission

Martucci Piano No. 2 in B-flat Minor, Op. 66 Allegro giusto Larghetto : Allegro con spirito Gerhard Oppitz

Busoni Berceuse élégiaque Bossi Intermezzi Goldoniani, Op. 127 Preludio e Minuetto Gagliarda Serenatina Burlesca

Thursday evening’s is supported in part through the generosity of the Julius N. Frankel Foundation.

This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. Comments by Phillip Huscher

Mahler’s Last Concert

To honor the centenary of ’s death, Ricc ardo Muti and the Chic ago Symphony perform the last program Mahler conducted

n Tuesday, February 21, 1911, Gustav Mahler ignored his Odoctor’s advice to cancel that evening’s “Italian” program with the New York Philharmonic, wrapped himself in thick wool clothing, and set out with his wife Alma from the Savoy Hotel to nearby Carnegie Hall. He had led the previous day’s rehearsal with a sore throat and a high fever. The players later remembered only that he cut the rehearsal short, saying that they weren’t really ready, but that he didn’t want to keep them too long. He and , the celebrated Italian and , had dined together that evening, and Mahler appeared to be in high spirits. “I have found,” he said over dinner, “that people in general are better than one supposes.” When another dinner guest, an American , inter- rupted to say, “You are an optimist,” Mahler shot back: “And more stupid.” The concert on Tuesday evening was one in a series that Mahler, in his second season as the orchestra’s music director, had planned to showcase national schools of music. The origi- nal scheme for this one was to include music by living Italian , even though, as Mahler himself noted, they tended to concentrate on writing for the house rather than the concert hall. Mahler settled on a program, but once he and the orchestra played through the symphony he had picked by Giovanni Sgambati (unknown to us today, but once champi- oned by both Liszt and Wagner), he decided to replace it with Mendelssohn’s Italian Symphony, the most famous “Italian” piece of orchestral music by a non-Italian—and one that was, of course, already in the orchestra’s repertoire. Mahler had hoped to include music by his friend , but the

2 scores didn’t arrive in time. The program Mahler conducted on February 21 began with Sinigaglia’s overture inspired by Goldoni’s Le baruffe chiozzotte and ended with Bossi’s Intermezzi Goldoniani for strings—two musical responses to the work of , the eighteenth-century Venetian playwright. In between came a substantial by Neapolitan composer (who had unfortu- nately recently died), the world premiere of a piece by Busoni, and the Mendelssohn symphony. It was something of a spe- cialist’s program, and the house wasn’t full that night, but the most celebrated Italian of the age, , was present, sharing a box with Busoni. As it turned out, this concert—the same program that the Chicago Symphony performs this week—was Mahler’s last public appearance. Returning to this program today, in the year that marks the centenary of Mahler’s death—a year when Mahler’s music itself is the inevitable focus of much attention here in Chicago and around the world—reminds us that Mahler was not only a visionary composer, but also an important and influential conductor as well, and that he was a musician who was genuinely interested in his fellow composers and in a surprisingly broad spectrum of contemporary music. (Mahler purists tend to forget that his excitement on reading through the score of Mascagni’s Cavalleria rusticana when it was sent to him in 1890, only weeks after the premiere, was so great that he decided to produce it at once.) The February 21 concert began well, but during intermis- sion, Mahler seemed exhausted and complained of a headache. Nonetheless, he returned to the for the second half without hesitation. Back at his hotel after the concert, he joked about himself back to health (his doctor, who met him there, said his temperature had returned to normal). But when his fever spiked before the afternoon repeat of the Italian program on the twenty-fourth, he called the concertmaster to his hotel and asked him to take over the concert (Busoni agreed to conduct his own piece). “Not one word of regret has fallen about Mahler’s absence!!,” Busoni wrote to his wife after the press made a fuss over the last-minute stand-in sensation at

3 The program page for the last concert Mahler ever conducted, February 21, 1911

4 the second performance. “One reads of such things happening in history, but when it is a personal experience, one is filled with despair.” Over the next few days, Mahler agreed to rehearse the orchestra sev- eral times and then canceled at the last minute. He was confined to his hotel room; specialists were consulted. Although it was rumored that Mahler simply had the flu, in fact, the heart condition that had first been diagnosed in 1907 was now worsening quickly. One of the last official portraits The Evening Post reported on March taken of Mahler. New York, 1911 8 that Mahler would return to the podium on the tenth, but Mahler knew better. On March 15, he wrote a confidential note to the orchestra committee, requesting the balance of his salary after subtracting fees for the he missed. He clearly under- stood that his situation was hopeless. (For a few days, he said repeatedly that all sketches for his unfinished Tenth Symphony should be destroyed once he was dead.) Privately, talk of his successor as music director had already begun. “I did not know how great the danger was,” Alma Mahler later wrote of her husband’s last weeks. “If I had, I could never have got through the next three months.” Mahler was not one to give in easily, and he eventually suggested consulting with some of Europe’s finest doctors. Alma, realizing that they needed to leave New York, began to pack, quietly filling the more than forty trunks and suitcases the family brought with them. On April 8, the Mahlers left their hotel to board the Amerika, the same ship that had brought them to the U.S. in 1908. (A stretcher was sent to the hotel, but Mahler refused to use it.) The crossing took nine days. Mahler would not see anyone, not even Busoni, who by coincidence was booked on the same ship. (Busoni sent him bottles of wine and silly exercises for amusement.) “The Germans are a funny lot,” Busoni told Alma as they walked together on deck

5 while Mahler slept, “They never under- stand people when they are still alive. Even now they have denied Mahler the stamp of genius.” When the ship stopped in Cherbourg, France, on the eve of Easter Sunday, the Mahlers were allowed to disembark before the oth- ers. One fellow passenger, the young Stefan Zweig, who would eventu- ally become one of the most widely read in the world, spotted the dying composer perched on a deck chair, covered by a blanket, and nearly hidden behind his luggage: “Unforgettable . . . was the last time I saw him,” Zweig later wrote, “because

Mahler on board ship making his I had never sensed so deeply the heroic final crossing from New York to in a man.” From Cherbourg, the Europe. April 8, 1911 Mahlers went first to Paris by train to consult with specialists, and later on to , where Gustav died at home in his bed at 11:05 on the evening of May 18. “I shall never forget his dying hours,” Alma later wrote. “His genuine struggle for eternal values, his ability to rise above everyday matters, and his unflinching devotion to truth are an example of a saintly existence.” This week’s program, replicating Mahler’s last concert, reminds us that although his music was far ahead of its time, Mahler himself was very much in touch with the music of his own day.

6 Leone Sinigaglia Born August 14, 1868, , . Died May 16, 1944, Turin, Italy.

Overture to Le baruffe chiozzotte, Op. 32

he concert began well with a played it when Mahler picked it Tdelicious overture by Sinigaglia, for his Italian program—but it has one of the few modern disappeared from the concert hall who has written any music for today. Le baruffe chiozzotte—a loose symphony orchestra,” The New translation might be “The quar- York Times critic wrote of Mahler’s rels of the people of Chiozza”—is Italian program on February 21, a comedy by Carlo Goldoni set 1911. The symphonic direction in the fishing village of Chiozza of Sinigaglia’s career was cer- (Chioggia, as it is known today), tainly encouraged by his move which is located on a small island from Turin to Vienna in 1894, at the southern end of the where he studied with Eusebius lagoon. Goldoni himself lived there Mandyczewski (the editor of the briefly, so he knew the colorful, complete works by Schubert and bustling spot well when he wrote Brahms), met Brahms and Mahler, Le baruffe chiozzotte in 1760. and became a friend of Dvořák, Sinigaglia’s sparkling overture who later gave him private lessons perfectly captures the spirit of the in . place and the comedic intrigue For many years, Sinigaglia’s of Goldoni’s play, which not only concert overture, Le baruffe chioz- involves the squabbling of the zotte, enjoyed great popularity—the townsfolk, but, of course, a pair of Chicago Symphony had already young lovers.

Composed Most recent Instrumentation 1907 CSO performances two and , two March 28, 1939, , two , two First performance Orchestra Hall. Frederick , four horns, two Spring, 1907, . Arturo Stock conducting , three , Toscanini conducting , side drum, July 29, 1950, Ravinia , triangle, Festival. William First CSO , strings performance Steinberg conducting December 11, 1908, Approximate Orchestra Hall. Frederick performance time Stock conducting 7 minutes

7 Born February 3, 1809, , . Died November 4, 1847, , Germany.

Symphony No. 4 in A Major, Op. 90 (Italian)

e owe this music to Goethe. “The true Italy,” says Forster’s Miss WAt his recommendation, Bartlett, discarding Baedeker, “is Mendelssohn went to Italy, and only to be found by patient observa- there, struck by the landscape tion.” Mendelssohn’s grand tour, and a brilliance of sunlight, and lasting two years and undertaken the disposition of a people previ- with no guide other than Goethe’s ously unknown to him, he began comments, allowed him, like his A major Forster’s characters, to see the symphony—a whole of life in a new perspective. product of When Mendelssohn wrote home the northern to his sister Fanny, he noted, with mind intoxi- obvious surprise, that his new A cated by the major symphony was the “most Mediterranean cheerful piece I have yet composed.” spirit. It’s the But first, back to Goethe. In same journey, 1821, when they met, Goethe and though with Mendelssohn made an unlikely a different pair—the great poet was seventy- itinerary, two and famous, the composer Johann Wolfgang Goethe that gave a precocious twelve-year-old. us Goethe’s Nonetheless, they found mutual own Faust, interests and formed a lasting Berlioz’s Harold in Italy, and E. friendship. Mendelssohn contin- M. Forster’s A Room with a View. ued to visit Goethe in

Composed Most recent Approximate 1830–March 13, 1833 CSO performance performance time November 13, 2010, 26 minutes First performance Orchestra Hall. Antonio May 13, 1833, Pappano conducting CSO recordings , England. The 1976. Sir Georg Solti composer conducting Instrumentation conducting. London two flutes, two oboes, two 1985. Sir Georg Solti First CSO clarinets, two bassoons, conducting. London performance horns, two trumpets, March 24, 1893, Auditorium timpani, strings . Theodore Thomas conducting

8 throughout the 1820s, as his fame in speaking like this, since he has grew nearly equal to his friend’s, frankly told me that he understood the result of his astonishing early nothing of my music.” success—he wrote the lovely Octet In the meantime, music was at sixteen and his masterpiece, the beginning to take shape. On Overture to A Midsummer Night’s December 20, Dream, at seventeen. Still, like all Mendelssohn the composers of his generation, wrote home, Mendelssohn failed to win the “After the new poet’s appreciation. (In the end, year I intend and despite a number of quali- to resume fied applicants including Berlioz, Beethoven, and Mendelssohn music and to himself, Goethe admitted that write several Mozart was the only one who could things for the have set Faust to music.) More than piano, and once, Mendelssohn tried to convert probably a Goethe to Beethoven’s cause, symphony of Felix’s sister without success. Music, it appeared, some kind, for was not their common ground. two have been Mendelssohn stopped off to visit haunting my his colleague in May 1830, just brain.” By February, he reported to before he began his Italian journey. Fanny that “the Italian symphony He played the piano for Goethe makes rapid progress.” (The other, every day, sometimes choosing a Scottish symphony, went less his own music, or works by Bach well, perhaps because it was so far and Weber; once he tried, with from home.) Mendelssohn stayed utter failure, to interest the eighty- in through Easter in order year-old master in Beethoven’s to hear the music at Saint Peter’s, Fifth Symphony. They parted, not and then left for , where he knowing it was the last time they expected to write the only remain- would see each other. After stop- ing movement, the Adagio. “If I ping briefly in Munich, Salzburg, continue in my present mood,” he Linz, and Vienna, Mendelssohn wrote shortly after arriving, “I shall landed in Venice on October 9. For finish my Italian symphony . . . months he wandered the Italian in Italy.” countryside, lingering in When Mendelssohn returned and Rome. There, he met Berlioz home, however, the A major for the first time, finding more to symphony wasn’t done. Even like in the man than in his music. after the score was completed, in Berlioz, knowing this, still wrote chilly on March 13, 1833, glowingly of Mendelssohn, “He has Mendelssohn wasn’t satisfied. In an enormous talent, extraordinary, May, he conducted the Italian prodigious, superb. And I can’t be Symphony in London, but after- suspected of comradely partiality wards he put it back on the shelf,

9 like a disappointing souvenir of his Mendelssohn waited until he great journey. From time to time got to Naples to write the Adagio, he would take it down and tinker a movement of particular grace with it, but he never thought highly and nobility. The composer and enough of the music to send it to pianist Ignaz Moscheles said that his publisher. After Mendelssohn’s Mendelssohn took his theme from premature death in 1847, a number Czech pilgrims; Donald Tovey of his scores, including the Italian heard a religious procession passing Symphony, were finally published, through Naples. Mendelssohn widely performed, and welcomed himself didn’t comment, no doubt into the repertoire. assuming that music of such obvi- It’s hard to imagine what ous beauty didn’t require a setting. Mendelssohn found to fault in this The third movement—really more nearly perfect symphony. Perhaps, minuet than scherzo—is colored as Donald Tovey suggests, “an with the composer’s characteristic instinct deeper than his conscious light touch, though the sober trio self-criticism may have prevented in particular proves that one can him from altering it.” The opening still say serious things lightly. is one of but a handful in all music Mendelssohn called his finale that is instantly recognizable simply a saltarello (the fast and jumpy by its sonority—rapid-fire, repeated Italian folk ); some claim wind chords set in motion by one it’s more like the , once giant plucking of the prescribed as a cure for the bite of strings—even before Mendelssohn’s the tarantula. Unlike either, and famous, bustling gets going against the grain of virtu- going. The melody itself is one of ally all symphonic finales known the composer’s most natural and to Mendelssohn, this dance begins unforced, racing unstopped over the in the minor mode and stays there hills and valleys of the movement, to the last chord. Despite its bitter slowing only to make way for a cast, it makes a brilliant and deci- lovely solo. sive ending.

10 Giuseppe Martucci Born January 6, 1856, Capua, Italy. Died June 1, 1909, Naples, Italy.

Piano Concerto No. 2 in B-flat Minor, Op. 66

lthough he grew during the settled in Naples, Italy.) At the Agreat age of Verdi—he was born same time, the young Martucci two years after the premiere of La began to study composition seri- traviata—and died when Giacomo ously at the Naples conservatory. At Puccini was at the peak of his suc- his father’s insistence, Martucci did cess, Giuseppe Martucci is the rare not abandon his career as a piano Italian composer of his generation virtuoso, and in 1874, he gave a who never wrote an opera. After concert in Rome that was highly studying piano with his father, a praised by Liszt. Once he settled player and bandmaster in Naples in 1881, where he was in the Neapolitan army, Martucci named conductor of the Orchestra publicly played a piece that he had Napoletana, Martucci established composed for the first time in 1867. himself in that most elite circle Soon afterwards, he began to work of —the triple threat of in Naples with , being an accomplished pianist, who had studied with the great conductor, and composer. piano virtuoso and sometime Liszt In 1886, the year he gave the rival (though that was largely a pub- premiere of the piano concerto lic relations concoction) Sigismond performed this week, he moved to Thalberg. (Thalberg toured the as conductor and director U.S. in 1856 and 1857, appearing of the conservatory there. It was in in more than eighty cities; the final Bologna two years later that he met concert of his American tour was , one of his true in Peoria, Illinois. He eventually , an unexpected role model for

Composed Instrumentation Approximate 1884–85 solo piano, two flutes, two performance time oboes, two clarinets, two 45 minutes First performance bassoons, four horns, two January 31, 1886, Naples. trumpets, three trombones The composer as soloist and , timpani, triangle, strings Only previous CSO performance February 21, 1913, Orchestra Hall. Silvio Scionti, piano, with conducting

11 an Italian musician, and the one writing in the standard forms of composer whose style Martucci’s nineteenth-century instrumental often superficially resembles. music. (His magnificent The great German composer was cycle, La conzone dei ricordi, written fifty-five years old and had already two years after the Second Piano written all of the symphonic works Concerto, is one of a mere hand- we know today except for the ful of vocal works in his catalog.) Double Concerto, which he was Like Brahms, Martucci wrote two about to begin. Martucci was just large-scale piano . He thirty-two. Brahms, who had come eventually withdrew the first one, to Italy with his friend Josef Viktor composed in 1878 (it was published Widmann, did not recognize posthumously a full century after Martucci’s name when the Italian it was written). Martucci himself musician showed up at Brahms’s played the formidable solo part at hotel to introduce himself. The the premiere of his Second Piano two did not take long to become Concerto in Naples in 1885. He friends, particularly once Martucci played his concerto again at a per- told Brahms that he had recently formance in Milan that was con- conducted his second symphony in ducted by Arturo Toscanini, who Naples and then began to quote the became an important champion of principal themes of Brahms’s major this score, along with Martucci’s works of chamber music. Since nei- two . The New York ther knew the other’s native tongue performance of the concerto that (at first, Widmann tried to serve as Mahler conducted in 1911, less translator) they ended up commu- than two years after Martucci’s nicating in the only language they death, was the first given in the both knew—music— and U.S. (The Chicago Symphony humming phrases back and forth to programmed the concerto two years each other. “It was a wonderful per- later, but has not played it since.) formance,” Widmann later recalled. In this monumental concerto, Later that same year, Martucci we find an ideal balance of the made headlines leading the Italian Northern and Italian sensibili- premiere of Wagner’s Tristan and ties—the world of Brahms meeting Isolde. It was, astonishingly, the its match in this vital young voice first time he had ever conducted from Italy. It also is a landmark in an opera. the late nineteenth-century Italian We can date Martucci’s lifelong of music written for interest in the grand Austrian- the concert hall rather than the German tradition to his student opera house. Martucci’s Second days with Cesi, who was devoted in Piano Concerto is designed on a particular to the work of Beethoven scale that would not have seemed and Schumann—and from this out of place north of the —it grew Martucci’s determination, so is roughly the same length as both unlikely from an Italian musician of Brahms’s piano concertos—but at the time, to devote his career to in Italy its size and complexity

12 caused a stir. Although the influ- after an extended and demand- ence of Schumann and Brahms, ing near the end of the in particular, is undeniable, those movement, the piano continues composers are no more than a to play to the final measure. The frame of reference. Throughout middle slow movement, with its the concerto, it is Martucci’s own rhapsodic theme, also is dominated voice, and the essence of a deeply throughout by the imaginative, ingrained Italian , that colorful, and elaborate piano solo— speaks most forcefully. the kind of writing that, for all its Martucci writes three move- virtuoso flourishes, is substantive ments. The first, a brilliant and and quietly powerful. The finale is fiery Allegro, is the largest. The dazzling, and the solo part, as the piano enters in the third measure program book for Mahler’s New with a grand unaccompanied solo York concert claimed, “bristles with and is rarely silent thereafter. Even technical difficulties.”

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Note: Fire exits are located on all levels and are for emergency use only. The lighted Exit sign nearest your seat is the shortest route outdoors. Please walk—do not run—to your exit and do not use elevators for emergency exit. Volunteer ushers provided by The Saints—Volunteers for the (www.saintschicago.org)

13 Ferruccio Busoni Born April 1, 1866, Empoli, Italy. Died July 27, 1924, Berlin, Germany.

Berceuse élégiaque

he first performance of the of Liszt.) He was a frequent guest TBerceuse took place yesterday with the Chicago Symphony in its evening,” Busoni wrote to his wife early years—he played Beethoven’s from New York on February 22, Fourth Piano Concerto here in 1911. “Toscanini came. After two the Orchestra’s second season, and recalls for Mahler, I was obliged soon returned to perform music by to bow twice to the audience (from Liszt and Weber. In 1911, he was my box). ‘The audience doesn’t less well established as a com- like the piece, but it likes me,’ poser—the CSO had played only I remarked.” In 1911, Busoni his Lustspiel Overture—and he was was just starting to make waves well ahead of his time in his theo- as a dangerous modernist, and retical writings about the direction the Berceuse is one of his earli- music should take—his prophetic est ventures toward full-bodied , published in atonality. With this work, in fact, 1907, talks about microtones and Busoni said that he had found his electronic instruments. individual voice at last and had Mahler had known Busoni since succeeded in “dissolving the form he and the virtuoso pianist col- into feeling.” laborated on Weber’s Konzertstücke At the time, Busoni was best in Hamburg in 1894—they worked known as a piano virtuoso, special- together again in Vienna and New izing in the great nineteenth- York, often on one of Beethoven’s century composers. (In 1911, he concertos. Mahler was also an gave a celebrated series of six recit- important champion of Busoni’s als in Berlin devoted to the music music, and in March of 1910, he

Composed First CSO Instrumentation 1909 performance three flutes, , two March 22, 1912, clarinets and clarinet, First performance Orchestra Hall. Frederick four horns, , , February 21, 1911, Stock conducting harp, strings New York City. Gustav Mahler conducting Most recent Approximate CSO performance performance time December 13, 1924, 9 minutes Orchestra Hall. Frederick Stock conducting

14 conducted the Suite with mother the same song which he the New York Philharmonic. “The had heard from her as a child, and performance was perfect,” Busoni which had followed him through wrote to his wife, “better than all a lifetime and undergone a trans- the others, and was a great suc- formation.” The composition began cess.” But the performance of the as a short work for piano—“On new Berceuse the following year was the first hearing of the piece, my less than ideal—for one thing, the friends were greatly startled,” he orchestra didn’t own a celesta, and later admitted—and then, fol- so Mahler had to use an upright lowing the death of his mother, piano instead—and the audience Busoni kept thinking of this music. less enthusiastic about this subtle, “I took up the composition again, dark, and haunting score. The penetrated deeper into it, and critics were particularly uncompre- conceived the extended orchestral hending. “It is a gruesome work in of the little work.” In a modern composer’s most modern London, where he had gone to give manner,” wrote The New York Times. concerts, Henry Wood, the legend- “The piece is effective, and I still ary conductor, let Busoni have half believe that it can achieve a kind an hour during one rehearsal to try of popularity,” Busoni insisted. But out the Berceuse with orchestra, “so nearly a century later, when the that I might hear the work which American composer John Adams I did not dare to print without a made his own arrangement of the hearing inasmuch as it contains Berceuse, a work he had long loved, a number of singular harmonic for chamber orchestra, he admit- and instrumental combinations ted that its “continued obscurity is which have not yet been approved.” perplexing to me.” Busoni was pleased with what he Busoni himself described the heard, and it was left to Mahler to Berceuse: “The man sings to his dead give the premiere in New York.

15 Marco Enrico Bossi Born April 25, 1861, Salò, Lake Garda, Italy Died February 20, 1925, Atlantic Ocean

Intermezzi Goldoniani, Op. 127

long with Giuseppe Martucci organ, at the Wanamaker depart- Aand Giovanni Sgambati (whose ment store in Philadelphia. symphony Mahler had originally The Intermezzi Goldoniani, scored hoped to include in his Italian for string orchestra, is among concert), Marco Enrico Bossi was Bossi’s most popular orchestral one of the leaders of a new kind of works and it was often played nonoperatic music in Italy in the during his lifetime. Composed early 1900s. Born into a family to honor Carlo Goldoni, it was of musicians in 1861, the year intended to reflect the spirit of his of Italy’s unification, Bossi first time, and takes the form of a suite drew attention as an organist. His of popular eighteenth-century international recital tours brought . At these performances, him into contact with many Muti conducts Bossi’s established composers, including opening prelude and minuet, the Camille Saint-Saëns and César lively galliard, a little Franck, and convinced him of the (with its expressive solo), and need to return to Italy and lift the the final burlesque. prevailing standards for all kinds of instrumental music. Bossi died unexpectedly at sea in 1925, on his way home to Italy after making a recital tour of the U.S., where he Phillip Huscher is the program annota- © 2011 Chicago Symphony Orchestra © 2011 Chicago had played the world’s largest pipe tor for the Chicago Symphony Orchestra.

Composed First CSO Instrumentation 1905 performance strings January 24, 1908, First performance Orchestra Hall. Frederick Approximate January 10, 1906, Stock conducting performance time Augsburg, Germany 16 minutes Most recent CSO performance March 11, 1930, Orchestra Hall. Frederick Stock conducting